3 - Red deck consisting of all ACES OF SPADES plus the following two prepared cards at any position in deok. FOUR OF DIAMONDS (short oard). ACE OF DIAMONDS (wide oard). Before the routine this deck is placed in the magician's top right vest pocket.

Note: I am sure Mr. John Snyder would have a reasonable price for a setup like the above, and you could have any selection of cards.

Curtain: I give you the actual mechanics of the effects as described at the beginning.

1 - False shuffle and force the top card of each pack. Use any force which you can do well.

2 - The only card the spectator can possibly select is one of the EIGHTS OF SPADES. Hie magus cari find the Eight of Spades In his deck because it Is a long card. At the finish, bring out the deck In your vest pocket instead of the deck in your inside coat pocket.

3 - Locate both of the FOUR OF DIAMONDS (short cards) and remove from pockets.

4 - Locate both ACES OF DIAMONDS (wide oards)

and remove from spectator's pookets.

6 - This works Itself due to all oards In each deok being ACES OF SPADES.

In conclusion: You will find the routine mystifying to magicians as well as laymen. The repetition only serves to hellten the effect and the last coincidence really floors them. Even maglolans fall to figure a foroe deck due to the number of times the coincidence appears. Work this one smoothly and with a bit of speed and you'll never do a sho* without It for It's one of the few card routines that can be presented under any conditions.


JOSEPH fi. m If s

Original tricks with a rope are scarce these days, but here is one, the effect of which is very surprising and unexpected. An ordinary length of soft white rope is shown, and can be used previously for any of the popular cut and restored methods. The performer makes a bow. knot in the center as shown. The rope is now put a-rounl the neek with the bow in front where the tie is worn and the ends tied in back with a double knot.

With both hands at the bow of rope, the magician is seen to be working the bow down smaller and smaller, the olrole of rope getting larger and larger of course as this action continues. All at onoe the left fingers are seen to

hold the bow knot, and at the same time, the right fingers drop the rope which is seen whole and solid, the left hand tossing the bow knot into audience I The right hand now takes rope loop from around neck and tosses that also into the hushed (?) crowd.

Having seen this performed, we know the nice effect of it all, it fitting into any rope routine and being possible of performance at any time during a program. The secret is extremely simple but the moves make it perfect as an illusion. Beforehand take a duplicate piece of rope about fifteen in. long. Make a bow in this piece, the bow being about four inches from tip to tip. Now trim off the ends of rope about an inch each side of the tight knot. Fold the bow up a bit and Impale it on a common pin which has been stuck on inside of left lapel with the point up.

When ready, show length of rope and make the bow knot in center. Tie around neck, with bow against throat. Let this be plainly seen, and your hands are empty at the time. As your hands are away from bow, and as you swing around to give a glance at the knot behind, your hands are holding lapels of coat, with thumbs underneath. As you face the front, the left thumb merely steals away the fake knot behind the left fingers, both hands immediately being raised to the bow. Now work the bow around neck down, keeping it hidden as much as possible, and when gone, open fake bow, show it with left fingers, let go and show the whole rope with right fingers, and toss knot to crowd. The take loop from around neck and toss that out too.



A number of coins are collected in a borrowed hat which the wizard places on table crown down. Announcing the date of a coin, the performer puts his hand into the hat, and brings forth a coin which he immediately passes for inspection. It bears the date he namedI He re-pea ta with the others. One advantage of this method is that no extra coin is used, and another is the fact that the spectators may note the dates on their own coins before dropping them into the hat. Thus each may claim his ooin immediately its date is read.

It is requisite that the wizard perform some feat requiring the loan of a half-dollar at some time earlier in his program or routine. Pretending to give it back, he must substitute a halfdollar of his own, prepared by rubbing it previously (on either side or in the milling) with a pleoe of soap. By not allowing too much soap to collect on the ooin, its presence never will be suspected. In borrowing a number of coins for the experiment to be explained, the magician must make certain that this prepared coin is included among those collected in the hat. The first date he names is that borne by the prepared coin!

Reaching into the hat on table behind his baok, the wizard will find it very easy to distinguish the soaped coin from the others. It has a soft or greasy feel that cannot be mistaken from the others when one is looking for it. Securing it, the conjuror at the same time picks up another of the coins between the first and second fingertips, and by bending the fingers inward, lodges it in the crotch of the thumb. It is easy to tell where on the half-dollar coin the date is, by sense of touch alone. On the older coins, the starts on the "tails" side have a feel possessed by no other portion of the ooin's surface. On the newer ones, the waist of the figure on that side is a good distinguishing sign.

At any rate, the coin ia lodged date side up in thumb crotch, so that in bringing hand forward, the conjuror, apparently having but one coin between thumb and index finger tips, really has one concealed in thumb crotch, and can glanoe down and read date. The prepared coin is given to owner (?) and magician reaches into hat for another. This time the one just glimpsed is named and a third coin concealed in thumb crotch to be read as hand is held forward. In a similar maimer each date is read to and inoludlng the last.

The Jinx is an independent monthly for magicians published by Theo. Annemann of Waverly, N.Y., U.S.A. It can be obtained direct or through any magical depot for 25 cents a copy, and by subscrip-. tlon Is $1 for 5 Issues postpaid « to any address in the world. { I

RED-VIBRO (continued from page 395)

the chosen card the matching vibrations would enable him to pick It out. Then he began to look a bit worried and I began to wonder If, after all, The Great Merllni was about to fallI

But, suddenly, his hand veered away from the spread of cards, as if drawn by some magnetic force, and came to rest directly above that one lone, out-of-place red-backed discard! "This," he said in a surprised tone, "must be the card I" Sure enough, when he flipped it over, it was the Jack of Hearts!

He ripped open the marked envelope and drew out the marked card. There had been no switch. I grabbed for his deck, half expecting to find that he was using a "rough" deck. I was wrong there too. The cards were quite unprepared. He let me worry about It a while and then, finally, he broke down and told all. Did I kick myself? Yes I did, good and hard. But I was also delighted because he's shown me yet another use for that King of Gimmicks, the thumbtlp.

out my red backed deck in its case and "replacing the red backed (double) In it. Or, I pretend to. Actually I push it down behind the case on the outside and return all to my pocket. If anyone is auspicious of that red backed card, I simply produce case and hand It over. The double card remains in my pocket and they find a perfectly innocent, red-backed Jack of Hearts, or whatever, in the deck where it has been all the time.

"And when you do this for a magician, instead of spreading the cards on a table, handle them as if you were using a "rough" deck. When he sees the one red card among the blue one3, he'll be certain that's what you're using. Then hand him the deck!"

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